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in the early 90s, while gainfully employed as a bartender and "talent buyer" at emo's, the somewhat (in)famous bar and music venue in austin, tx, young jason began his journey into the world of live sound reinforcement. learning the ropes while mixing acts such as seaweed, versus, barkmarket and numerous other national and local acts, he soon grew weary of the sour beer and cigarette smell of that particular bar and decided to take his act on the road, to sample the olfactory medley of countless venues the world over. after moving his stuff to san francisco, he began a 9-year road trip with a few dozen national touring acts acting as sound engineer and, often, the grudging tour manager as well. in the midst of this, there was a move back to austin and there, in between tours, began his consuming interest in the recording of music.
starting in his living room with an 8-track recorder (in between tours with bands like the spinanes, elliott smith, barkmarket, and many more), jason was fortunate enough to record austin gems like paul newman, the hamicks, switchhitter, drums & tuba and others, luring in the bands with a combination of poverty-level hourly rates and a better than average understanding of what they were trying to accomplish. he soon moved into a project studio in downtown austin with a few friends and later into austin's punk rock recording haven, sweatbox, and work continued with the likes of monroe mustang, more paul newman records, zulu as kono, brown whornet, pop unknown, and many others. around 1998, jason ran out of tracks one time too many and began working in the modern 24-track format at austin's music lane, and through collaborating on the startup of "the bubble" recording studio with the then members of sixteen deluxe (rip). during this period he worked on albums by sixteen deluxe, the hades kick, more paul newman, rhythm of black lines and several others. he also had a two-year stint as the bassist for skronk-rockers switchhitter, during which time they recorded and released a cd, a 7", and went on one short and typically bootleg tour.
eventually a tempting offer to move to the big city of chicago to become a staff engineer dropped into jason's lap and in the summer of 1999, he packed up a big truck with friend craig mccaffrey and headed north. the next year and a half was spent becoming immersed in the world of studio wiring and tech work at engine music studios under the iron fist of bonafide genius shea ako (just kidding, shea), along with some studio construction work at john mcentire's soma electronic music studios. recording continued during this period, engineering albums by zulu as kono, del rey, the gaza strippers, cash audio, the puta-pons, and others. jason also began a habit of returning to austin to continue to work with regulars like rhythm of black lines, sixteen deluxe, brown whornet (on their wonderful "nosferatu" soundtrack and other work) and began working with peter stopschinski of brown whornet and graham reynolds of austin's golden arm trio documenting their brilliant symphonic collaborations and even dabbling in a bit of composition himself. this time was still interspersed with tours by the likes of superchunk and sleater-kinney. after a post-economic bubble downsizing at engine in late 2000, jason began working under the tutelage of chicago icon(oclast) james bond. becoming schooled in the strange and wonderful world of film projection, he has worked on system installations and premieres at northwestern university, the gene siskel film center, the chicago theater, the city of chicago's outdoor film festival and more.
missing the relaxing atmosphere of home recording, jason began putting a decent home studio environment together. he first created a functional home control room/overdub atmosphere in his spare bedroom. tracking out of an assortment of studios such as the key club, soma, kingsize (now western) soundlabs, semaphore recording, nyc's rare book room, and sometimes just empty rooms where loud noises could be made, a more customized and affordable approach to making records began taking shape. concentrating more on getting the most time to work over having the most expensive equipment to work on, jason made well regarded albums by taking pictures, the feud, more del rey, more paul newman, more hamicks, and others.
the home studio was moved into the basement of his home in chicago's logan square neighborhood in the fall of 2002. with the addition of a neotek élan console (from the former idful music studio), prole arts studio was born. The saga now continues in the spacious garden apt of his current home in Chicago's Avondale neighborhood. This incarnation is the most fully realized studio environment yet with a 10'x35' control room/piano resting place and a 10x14 live room, along with a kitchen and bath. An MCI JH24 was added in September of 2004 along with a few other mics and goodies.
current and upcoming projects include am syndicate, del rey, -h (taylor holland of monroe mustang), live sound and recording for merge records 15th anniversary festival, taking pictures, andtelenovela.
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